RELATIONSHIP BETWEEN THEORY AND
PRACTICE OF TEACHING FINE ARTS IN
SECONDARY SCHOOLS IN KANO STATE
BY
Rabi’u A. Badamasi
Department of Fine Arts
Ahmadu Bello University, Zaria
June, 2006
RELATIONSHIP BETWEEN THEORY AND
PRACTICE OF TEACHING FINE ARTS IN
SECONDARY SCHOOLS IN KANO STATE
BY
Rabi’u A. Badamasi
M.A./ENV. DES./47520/04-05
B.A. Ed. Applied Arts (1995)
Being a Thesis submitted to the Postgraduate School,
A.B.U. Zaria, in partial fulfillment of the requirement
for the award of the degree of Master of Arts (M.A.) in
Art Education
Department of Fine Arts
Ahmadu Bello University, Zaria
June, 2006
DECLARATION
I, Rabi’u A. Badamasi, declare that this study research has been
conducted by me and that it is true record of my own research work; and it
has not been previously presented for any higher degree.
R. A. BADAMASI
____________________
SIGN/DATE
DEDICATION
To God for his loving kindness in giving me a sense of direction at
each point in this research work; and to my mother Fatima Binta and my late
Father, Muhammad Rabi’u whose broadmindedness and desire for education
I greatly admire.
R.A. Badamasi
___________________
SIGN/DATE
CERTIFICATION
This research thesis has been read and approved as meeting the
requirement for the award of the Degree Master of Art (M.A) Art Education,
from the Department of Fine Arts, Faculty of Environmental Design, A.B.U.
Zaria.
____________________
Chairman Supervisory
Committee
___________________
Sign and Date
____________________
Member, Supervisory
Committee
___________________
Sign and Date
____________________
External Examiner
___________________
Sign and Date
____________________
H.O.D
Department of Fine Art
___________________
Sign and Date
____________________
Dean, P.G. School
___________________
Sign and Date
ACKNOWLEDGEMENT
In the name of Allah, Most Gracious, Most Merciful. In all things
glory, gratitude and thanks are given to Almighty Allah. Praise be to God,
the Cherisher and Sustainer of the world.
My gratitude goes to my lecturers especially my major and minor
supervisors; Dr A. Akodu and Dr M.P. Mamza who made their major
contributions towards the success of this research work. My appreciation
goes to the various individuals who had played their roles in making this
research successful. They include: The ten Kano State Zonal Education
Directors, the selected school principals, art teachers and sampled students
as well as the members of staff at the Fine Arts Department, Kano Education
Resource Department (K.E.R.D.)
I am very thankful to the principal, Dr. Y.K. Kajuru, the Vice
Principal, Mrs. E.F. Akodu, the Head of Technical Education Department,
Mr. N.M. Obagaiye, of Demonstration Secondary School, A.B.U. Zaria; and
those whose co-operation and guidance, such as my close friends and
relatives, I found very useful for the success of this research work who I
cannot forget.
I will also like to thank Miss F. Shade of English Language
Department, Demonstration Secondary School, A.B.U. Zaria for editing the
research work, Mallam I.A. Hassan who typeset the script and the binder,
Mal. M.F. Shika of Kashim Ibrahim Library (K.I.L.), Ahmadu Bello
University, Zaria. I am very grateful.
ABSTRACT
The research is a Descriptive Survey. It concerned with the
relationship between theory and practice of teaching fine arts. It aimed
describing in a systematic manner the facts about the state of arts teaching.
The study was interested in describing the relationship between theory and
practice of teaching fine arts in secondary school in Kano State. The study
was not trying to indicate their magnitude of the relationship between the
two complimentary variables, but describe its cause and effect on arts
teaching.
The major problem of the study is the wide gap that is created
between the teaching of theory and practical arts courses in senior secondary
schools in the state. So the main objective of the study was to find out the
degree of such relationship or gap for proper solution.
The study covered the eleven (11) secondary schools, selected for the
ten (10) Zonal Education Areas which offered Fine Arts in Kano State.
Considerable number of students and Fine Arts teachers were sampled from
the population for the study. And, the research findings show that, there was
a large amount of gap existing between theory and practice of teaching Fine
Arts in secondary schools. This was the major cause of the problems facing
the teaching and learning of Fine arts in Kano State.
Based on the finds, it is recommended that equally contribution
should be given to both theory and practice in schools. Both are important to
art education. The time table should made it possible.
TABLE OF CONTENTS
Title page
page
Declaration
i
Dedication
ii
Certification
iii
Acknowledgement
iv
Abstract
v
Table of contents
vi
CHAPTER ONE:
Introduction
1.1
Background of the Study
1
1.2
Statement of the Problem
2
1.3
Objectives of the Study
3
1.4
Significance of the Study
3
1.5
Research questions
4
1.6
Research hypotheses
4
1.7
Delimitation and scope of the study
5
1.8
Definitions of terms
5
1.9
Organization of the Study
6
CHAPTER TWO
Review of related literature
2.01 Introduction
8
2.02 Theoretical framework
9
2.03 Function of Fine Arts in secondary schools in Kano State
10
2.04 Objectives and functions of teaching Fine Arts in
secondary schools Kano state
12
2.05 The relationship between theory and practice of
teaching Fine Arts in Secondary Schools in Kano state
16
2.06 Theory and practical teaching materials in secondary schools
20
2.07 Value of theory and practical teaching materials in secondary
schools
21
2.08 Selection of theory and practice teaching methods in
secondary schools
24
2.09 Using instructional teaching materials for theory and
practice lessons in secondary schools
2.10 Summary of literature and uniqueness of the study
27
29
CHAPTER THREE
Methodology
3.1
Introduction
30
3.2
Research design
30
3.3
Population and sample
30
3.4
Research instruments
33
3.5
Validity of the instruments
33
3.6
Data distribution and collection
34
3.7
Data analysis
36
CHAPTER FOUR
Data presentations, result and discussion
4.1
Introduction
37
4.2
Analysis of the students’ questionnaire
37
4.3
Analysis of the teachers’ questionnaire
43
4.4
Analysis of both the teachers and the Students questionnaires
47
4.5
Major findings
51
CHAPTER FIVE
Summary, conclusion and recommendations
5.1
Summary
55
5.2
Conclusion
56
5.3
Recommendations
57
Bibliography
60
Appendices:
A: The students’ questionnaire on the teaching of
theory and practice in secondary schools
64
B: Questionnaire for teaching on theory and practice
Causes in fine arts
66
C: A Liket Type Questionnaire for both teachers and
Students on teaching theory and practice causes in fine
Arts
68
D: Checklist on materials for teaching theory and
practice in fine arts
70
E: Map of Kano state (scope of the study)
72
F:
73
Introductory letter
LIST OF TABLES
1. Schools sampled and their population
31
2. Data distribution and collection
34
3. Analysis of the students’ questionnaire
37
4. Analysis of the teachers’ questionnaires
43
5. Analysis of both the teachers’ and the students’
questionnaires
47
6. Checklists on materials for teaching theory and practice in
Fine Arts
70
7. Map of Kano state showing the scope and the area of the
study: the ten Zonal Education Areas (chapters 1.7 &.3.2) 72
8. Introductory letter
73
CHAPTER ONE
INTRODUCTION
1.1
Background of the Study
Many researches had been conducted and produced on so many
problems affecting the development of art education in Nigeria.
Example Mbahi, (1983:5), discovered that in Nigeria, the performance
of school leavers in Teachers’ Certificate Examination is not
commendable and Kabir, (2004:48), In addition, although the teaching
of art in schools has been generally accepted, art is not always to be
found in most of our schools. There are a lot of things which cause the
problems of the teaching and learning of Fine Arts in secondary
schools in Nigeria. Such problems include lack of adequate attention
given to the subject by the society and educational authorities. High
premium is not placed on the subject in the schools curriculum.
Negative impressions are taken to the minds of the students and
education administrators, which created misconception regarding the
real concept of arts in the schools curriculum. Generally art is seen as
only simple practical activity.
Today, there is a need to investigate seriously what are the
causes of the problems. One major cause of these problems could be
attributed to the disagreement that occurs between the level of
teaching theory and practice of the subject. That is so say, the extent
of gap that is created between the theory and practice of teaching Fine
Arts in secondary schools in Kano State is the one of the major cause
of the problems. The problems are seriously affecting fine arts
teaching.
The researchers’ concern in this study is to know the extent of
the gap created between the theory and practice of teaching Fine Arts
in secondary schools in Kano State. This is to enable the researcher to
describe the relationship between the two variables of teaching in
Kano state
The study of both the theory and the practice of teaching Fine
Arts and the relationship of the two, attract many art teachers and
administrators to take it as the means to improve and develop the right
methods and approaches to teaching and learning (art appreciation) in
Nigerian Senior Secondary Schools. Art education provides an
excellent ground in the fundamentals of fine arts teaching theory and
practice:
1.2
Statement of the Problems
The problem of this research was the degree of relationship or
gap between theory and practice of teaching art in secondary schools.
It was envisaged that theory and practice were not considered equal in
teaching. The research was interested in knowing is the degree of such
gap, the theory courses, the practical courses, how they are taught.
The basic assumptions are that:
1
There is a poor adoption of teaching methods and strategies in both
theory and practice affect teaching of fine arts in the schools.
2.
Theory and practice of teaching fine arts are not equally applied in
disseminating fine arts teaching because of the wide lag that is created
between the practice and the theory of teaching fine art in the state.
3.
Theory and practice of teaching Fine Arts lack variety of activities
that could actually sustain the students’ interest. Teachers use any
type of instructional aids to motivate the students.
1.3
Objective of the Study
The main objective of the study was to find out the relationship
between teaching in theory and practice in Fine Arts secondary in
Kano State. Other objectives were:
1.
Fine out the extent of the relationship between the theory and practice
of teaching fine arts in senior secondary schools in Kano State.
2.
Determine whether theory or practice is taught
3.
To find out how the two areas are taught and how many times.
1.4
Significance of the Study
The important of the study was to provide explanation for the
proper use of theory and practice of fine arts teaching in senior
secondary school so that the student, teachers, society and
administrators can recognize the objectives and important of fine arts.
Hence, knowledge of the relationship between the theory and practice
of fine arts dissemination will help to bridge the gap between theory
and practice of teaching fine arts in the state. The study is therefore
significant for the fact that, it will also contribute immensely into the
insight on the methods usually adopted in the teaching of fine arts; as
well as the appropriate teaching materials which can facilitate an easy
and successful delivery of fine arts teaching in senior secondary
schools.
The outcome of the study indicated the extent to which the
senior secondary schools, in Kano State, can meet the stated
objectives of teaching fine arts with the hope that the areas of
deficiency can be identified. This will enable the fine arts teachers and
school administrators to generate further enquiries that can be useful
to other fine arts teachers and students.
The researcher, however, has the view that the study can foster
remedy to these peculiar problems, and explain the events that can be
helpful to the fine arts teachers, for them to become more effective
and more efficient in carrying out their art teaching activities by both
or either the theory or practical teaching.
1.5
Research Questions
The study is designed on the assumptions that, a wide gap
exists between the theory and the practice of teaching fine arts in
secondary Schools in Kano State. The problem is that of determining
the relationship existing between the theory and practice of Fine Arts
teaching. Based on the objectives of the study, the following questions
were raised on the type of Fine Arts teaching methods and strategies
which would best suit the purpose of this study:-
1.
What is the theory course taught in schools?
2.
What are practice courses?
3.
How many times are each taught?
4.
What are the problems of teaching theory and practice?
5.
Is there any problem of gap or relationship of teaching theory and
practice in schools?
1.6
Research Hypotheses
The following hypotheses were developed to guide the study:
1.
There is no significant gap between the teaching of theory and
practical of Fine Arts in secondary schools.
2.
There is no significant relationship between theory and practical of
teaching Fine Arts in schools.
3.
There is no significant difference in the time allocated to theory and
practice of Fine Arts on the school timetable
1.7
Delimitation And Scope of The Study
In the attempt to carry out the research study, the research was
only limited to only eleven (11) secondary schools that offered Fine
Arts. The schools were selected randomly from the ten (10) Zonal
Education Areas of the state. The ten zones were: Bichi, Danbatta,
Gaya, Gwarzo, Minjibir, Municipal, Nassarawa, Rano, Tudunwada,
and Wudil Zonal Education Areas, These included the Kano
Education Resources Department (K.E.R.D.) Fine Art Section, which
is a department under the Kano State Ministry of Education.
Local government areas were not considered for the data
collection because, all the senior secondary schools in Kano state
were distributed according to the ten zonal education areas. That is to
enable the state Ministry of Education (M.O.E) to have easy control
over all the senior secondary schools in the state.
1.8
Definition of Terms
For the sake of this research content, some of the key terms are
stated below.
1.
Teaching of Fine Arts: A special formal training given to the
students in order learn art works and aesthetics which concern
both the art appreciation and making of art objects that can
serve a particular purpose or perform certain functions.
2.
S.S.S.: Senior Secondary School. The second part of secondary
school education that covers three years.
3.
Theory Lessons: The kind of explanations, teaching methods,
appreciation, and note taking for the understanding of art
works. Example: Art Education and Art History.
4.
Practical Lessons: the production of art works through class
activities. Such practical lessons are like drawing, paining,
sculpture,
ceramics,
constructions,
productions
and
manufacturing domestic materials like carbonates.
5.
Relationship Between Theory and practice in Fine Arts: The
state and conditions on which the theory and practice of
teaching fine arts in senior secondary school in Kano state are
interconnected with each other and the influence of one over the
other
1.9
Organization of the Study
The research report is in five chapters which include the
bibliography, appendices and list of tables. The Preliminary pages
contained
the
title,
declaration,
dedication,
certification,
acknowledgement, abstract, table of contents.
Chapter one covers the introduction of the study, background of
the study, statement of the problems, purpose of the study, objectives
of the study, significance of the study, research questions, research
hypotheses, delimitation and scope of the study, definitions of terms
and organization of the study.
Chapter two covers the review of related literature from text
books, theses, dissertation, the research works and periodicals. The
literature review in this research therefore presented the research
problems that were organized in few appropriate sub-headings in
order to indicate the related areas that were covered in the research.
Such related areas are educational theories and practice, objectives of
teaching fine arts in senior secondary schools, teaching methods,
materials and the main problem facing the teaching of fine arts the
secondary school Kano state.
Chapter three covers the research methodology. It contains the
research
design,
population,
sampling
techniques,
research
instruments and implementation. Others include the validity of the
instruments, data distribution and collection as well as the data
analysis procedures. It is also in this chapter that the research method
adopted is explained, mentioning the target population and the number
of schools sampled from the ten Zonal Education Areas. It is also
stated in this chapter that, the sampling technique was discussed.
Chapter four is data presentation, analysis, result and
discussion. The chapter contains the analysis of the students’ and
teachers’ questionnaire. The chapter also covers the summary of the
chapters as well as the research’s major findings. Here data collected
were analyzed using statistical presentations in tabular forms. The
statistical quantities in the research were analyzed and interpreted in
relation to the research questions that were formulated to guide the
study. It was from the research interpretation that the results of the
analyzed data were recorded.
Chapter
five
recommendations.
is
on
the
summery,
conclusion
and
The researcher summarized all what had been
discussed in chapter four, made conclusions, recommendations, the
references, and the list of appendices.
CHAPTER TWO
REVIEW OF RELATED LITERATURE
2.01 Introduction
The Literature begins with discussions on issues raised by
Entwistle in Hartnett and Naish (1976) titled: The Relationships
between thinking about ‘What’ to and ‘How’ to do it. This implies,
distinguishing knowledge in theory and knowledge in practice; and
what Woods and Barrow (1975) refer to (Mechanical Knowledge and
Rational Knowledge)
Theory and practice are believed to be pertinent in general
education. Distinctions are sometimes drawn between the theory and
practice, interpreting the claim that there is a gap between the two. On
this issue, O’connor, also in Hartnett and Naish (1976) reflected that
“when in an ordinary speech, we contrast theory and practice; we refer
to a set or system of rules or even collection of precepts which guide
and control an actions of various kinds.”
The Concepts and definitions of the two terms in a contrastive
and relative form are innumerable. Various authorities and disciplines
suggest some ways in which the distinction might be made. For
example, Rye’s accounts of practical knowledge; Gauthier’s practical
reasoning and problems; Hampshire’s Fallacies in normal philosophy;
and the “Educational Theory and Practice” of Green; in Leland
(1972).
2.02 Theoretical Framework
This study is based on the Getty Centre for Education in the
Arts (1985) idea of art education which focused its efforts on the
development and implication of an approach to teaching art which is
known as Discipline Base Art Education (D.B.A.E.). D.B.A.E.
derived its content from the four major disciplines of art – studio art,
art history, art criticism and aesthetics. The centre believes that artist,
art historians, art critics, and aestheticians contribute different
perspectives to an art work. In D.B.A.E. art instruction is based on
content from areas or disciplines that contribute to the understanding
of art. Teaching children about art should draw on ideas and
techniques from each of these areas to build a full understanding of
art. This approach to art education is called “Discipline Based.’ The
content for art education should come from the disciplines of art
production, art history, art criticism and aesthetics.
This study is also based on the Nigerian Education Research
and Development Council (N.E.R.D.C.) (1985) approach to art which
is the combination of the D.B.A.E approach and others. Art
production is however, divided into components, craft is also
introduced. Art history is taught at high levels of education,
methodology is included in teacher training institutions. The content
includes sculpture, graphics, textile design, drawing, painting and
crafts.
The concept of theory and practice embraces D.B.A.E. By
studying their relationships will ensure that, there is balance in the
teaching of art production, art history and appreciation. All the aspects
of the discipline are important in making and understanding art. So it
should be given equal consideration.
2.03 The Functions of Fine Arts in Secondary Schools in Kano State
Art is described as the basis of all subjects and foundation of
learning process because of the realization of the fact that it promotes
physical growth and development of the scientific and technological
advancement. Ajayi (1983) agreed that Art should be the basis of
education as he discovered from Plato when briefing on the functions
of art education.
Fine Arts provides the visual language of education; and it
makes all the essential things that this language should be mastered
early during the normal education process. Fine arts have to do with
appreciation of beautiful things; and that can appeals to the man’s
sense of beauty and high emotion or aesthetics, Painting, sculpture,
graphics and textile designs, are all the aspects of life that involve
creative expressions.
Olorukooba, (1991) argues that art will enable the students to
understand as well as to interpret the content of a subject matter; and
he enumerated that art taught in schools will:
-
develop the creative faculty of the students;
-
give him (student) ability to visualize and interpret threedimensional objects presented as two-dimensional illustrations;
-
develop his craftsmanship and with it, the habit of great
attention to details;
-
introduce learners to basic properties of physical materials and
-
finally, teach them to appreciate the aesthetic of indigenous arts
(p.1)
These evidences proved that the functions of Fine Arts are to assist the
intellectual, emotional and social growth of the learner. Art is a vital
figure and significant when acquiring knowledge as well as teaching.
The general objectives and goals of Fine Arts are quite similar
to the objectives and goals of education. Some of them are intended to
provide the students with the opportunity to demonstrate the extent of
their aesthetic awareness, emotional and visual development through
creative activities.
By the seven general objectives of education in Africa
presented by Fafunwa, (1974) and the five main national objectives of
Nigerian education, art is a purposeful and responsive. The seven
cardinal objectives of education in Africa are:
a.
to develop the child’s latent physical skills;
b.
to develop character;
c.
to inculcate respect for elders and those in the position of
authority;
d.
to develop intellectual skills;
e.
to acquire specific vocational training and to develop a healthy
attitude towards ones labour;
f.
to develop a sense of belonging and to participate actively in
family and community affairs; and
g.
to understand, appreciate and promote the cultural heritage of
the community at large. (p.20)
And the five national objectives of education are:
a.
a free and democratic society;
b.
a just and egalitarian society;
c.
a united, strong and self-reliant nation;
d.
a great and dynamic economy;
e.
a land of bright and full opportunity for all citizens. (p.20)
Fine arts in education enable the students to respond to
questions that seek to measure and evaluate the level of development
of expression of ideas, feeling, emotion and moods with materials. It
enables the students to understand various subject matters, art media
expression; and awareness of aesthetic value and questions on
different works of art. Understanding art in general education process
helps the individuals to evaluate and to measure accurately.
Theory and practice of teaching Fine Arts are very significant in
secondary schools. According to Uzoagba (2000)
Those artist who have studied only the skills in performance
of art will find that their performance is too practical, perhaps
too limited to supply the wider human outlook which the
study of art appreciation and history of art can give. The
theories on art appreciation and history will develop the
senses and aesthetic judgment and can offer the stringent
intellectual discipline derived from other subjects such as
mathematics and science (P:45).
2.04 Objectives and functions of teaching fine arts in secondary schools
in Kano State
The educational behavioral objectives are geared towards the
attainment of the three domains, namely: psychomotor, cognitive and
affective domains. According to Bloom, in Brown, Oke and Brown
(1982) the cognitive domain deals exclusively with the mind and
metal activities or skills that are only concerned with the students’
intellectual thinking and reasoning process. Cognitive domains,
according to Bloom, are placed into six taxonomies or levels.
At the lower level of the domain, there are: knowledge,
comprehension, application, analysis, synthesis and evaluation.
Affective domain also according to Bloom is concerned with the
‘emotional’ aspect of a person’s make up. The affective domain
influences one’s attitude, interest, appreciation, character or beliefs
and values. The psychomotor domain deals with reflex, visual, tactile,
auditory skills, manual dexterity, muscular coordination and physical
abilities. This domain is concerned mainly with sense organs and the
physical skills.
It is very important to recognize the need to set Fine Arts
objectives with reference to the cognitive, affective and psychomotor
domains. The obvious advantages of behavioral objectives in teaching
Fine Arts are that:
(a) they provide the teacher and students with a clear cut points
towards what the teacher and the students wish to arrive at.
(b) it enables both the teachers and students to frown on terminal
performances, expressed in terms of observable behaviours in the
students.
Measurement
and
evaluation
of
the
student’s
achievement can be facilitated.
(c) most importantly, both the teacher and the students would have no
doubt with regards to what they are to arrive at.
The main objective of teaching Fine Arts in Nigerian Secondary
schools is to produce highly intellectual, emotional and social growth
of the learners according to their needs and capacities. The teachings
of Fine Arts have certain specific objectives in addition to the general
objectives. This is the reason for its inclusion in school programmes.
Thus, Hurwitz in Wittch and Schuller (1962) said:
Art is being taught in the schools so that
children may gain insight into it and identify
the nature of creative and artistic acts as well
as to acquire artistic skills in relation to
activities involving their emotions and
intellects (p.10).
The teaching of Fine Arts in schools facilitates the acquisition
of knowledge and insight into art as cultural history. Through Fine
Arts, the students will learn to perceive so as to form concept and to
develop an active perceptual process capable of classifying all sort of
visual phenomena, as Ajayi, (1983) aptly places it that:
The process of art is a creative learning that involves
purposive participation of the learners. It provides for
such an expression of thoughts, for emotions and feelings
that leads to self-learning. It also provides opportunities
for the development of perception, insights, imagination,
creativities, habits, attitudes and values (p.7)
The learning of Fine Arts provides practice in the various local crafts.
It develops physical co-operation and provides special satisfaction
associated with mastery of art materials and techniques which
consequently gives rise to experience of nature and characteristics of
tools such as clay, wood, metal, plastics, colours, and so on. The
objectives of Fine Arts in schools provide a contributive development
for a complete human being.
Fine Arts courses give ample chance for educating students. It is
the way of life. About the importance of Fine Arts to human
civilization, Whelpton in Akodu (1999) believes that from the very
down of man’s existence, he made art, to represent his every day
occupational and social activities even before he learned to
domesticate animals.
The functions of Fine Arts in secondary schools in Nigeria can
only be seen through its purposes in the general education. The
purposes of Fine Arts in secondary schools education are to:
(a) allow the students to live a full satisfying life now, by satisfying
their basic need to understand and control their words, their need
to be intellectually creative and adventurous by thinking and
expressing their own thought in their own way; and their need to
share in social life by communicating in many ways through any
other media with other students.
(b) help students to become more aware of their world, more
sensitive to other people, so that they will be able to enjoy life
more.
(c) help the students to develop their power of thinking and to
express themselves clearly, fully and effectively.
(d) have life more abundantly enjoy the life or enjoyable living
throughout in life.
Uzoagba, (1978) shows what Fine Arts means and its
importance to Education when he used drawing as an elaboration:
Some practical skills in drawing form a valuable and indeed an
indispensable adjunct to the study of various subjects in curriculum
such as woodwork and Metal Work, Elementary Science, Practical
Nature Study, Biology, Mechanical, Geography and History. In such
subjects, drawing is of value not only as a means of recording what is
seen and in so doing strengthen the students’ power of accurate
observation of details, but also as a means of training him to
appreciate the significance of diagrams, maps and reference which he
uses in his studies (p.8) .
He believes that art is often referred to as visual or plastic
education. It helps to develop the power of observation and
helps to gain more insight into, and identifies with the nature.
Art contributes a lot to the teachers by helping them to teach
their subjects effectively. Example, in Geography lesson,
teachers give to the students some illustrations, maps and
pictures to facilitate teaching and learning and to orient the
students. Teachers use forms, lines and colours to represent
objects, places, and situation of manner. They also use models
to illustrate how the world rotates on its axis and so on.
Fine Arts play important roles in making the general
contribution for the success of secondary school education. Of course,
it has challenged all the other subjects and other human activities in
school curriculum. The contemporary teaching methods applying it,
however, have dominated that all normal students find success in.
Fine art is a worthwhile activity for all learning and teaching in
our Senior Secondary Schools. It forms the basis of education and all
subjects. It touches all subjects in the school curriculum and it is the
only subject that has found its way through all the other subjects and
that have full practical use in other subject areas.
2.05 The Relationship between Theory and Practice of teaching Fine
Arts in Secondary Schools in Kano State
The teaching of fine arts in Secondary Schools in Kano State is
very vulnerable and is at crises point. Some of the problems facing
fine arts teaching in the state were caused by the poor attention given
to the subject in the schools by the society and the authority.
Application of theory and practice of teaching fine arts should equally
be carried our when disseminating art lesions in Secondary School in
Kano State. This could only be achieved through realizing the
significance of the two relative terms.
There is a single point to be made about the theory and practice
of teaching fine arts in secondary schools in order to conceive the
ideas and to make them definite. Theory and practice of teaching fine
arts in secondary schools in kano by close observation, are intimately
interconnected and that the rigid dichotomy between them is
expressive. Theory of arts teaching is one thing and its practice is
another. It is an illusion that, one of them can do without the other.
Obviously, theory of arts teaching modifies practice and its practice of
arts teaching modifies its theory.
The idea of theorizing Fine Arts classroom activities in
secondary schools in kano state without refining and modifying it in
the light of practical and art teaching could make no sense. This
means that it will be difficult for the arts teacher to see the impact of
theorizing fine arts teaching without the practice of teaching Fine arts.
All about theory and practice of teaching fine arts, the arts teachers
have to consider one or more everyday classroom art activities that
involved “what” is done and “how” it is done. In other words, the
suitable strategic approaches and methods of teaching fine art as well
as actualization, implementation and the content organization of the
subject have to be giving due consideration. In respect of this
argument, Hartnett and Naish (1976) contended:
A practical problem is related to a particular context.
It confronts a certain person (or group) whose
capacities, outlook and achievements limit his
actions. It usually arises out of his particular
circumstances, and must be able to affect what
happens by his action; and if he is to consider the
problem seriously, must judge one possible effect to
be more desirable than another. (p18).
For Green in Leland (1972) “Theory arises out of practice with
its ever expending needs, and is the most pertinent factor in shaping or
directing further practice.” He added that “theory is raised above
practice by reflection, and though the reflection, and though the
imagination if becomes incarnated, as it were, in practice on an
increasingly high level.”
The theory and practice of teaching fine arts in secondary
schools in Kano state should be distinguished in terms of interrelated
distinction between the theoretical and practical problems of arts
teaching and evaluation. Teaching of fine arts should be based on the
relationship between fine arts theory and fine arts practical works that
implies theorizing and practicing in the sense of doing art works.
Educational practice and theory involve two independent
factors: thinking out ‘what’ to be done and ‘how’ to be done.
Educational tradition stressed the importance of learning by doing in
such a manner which places premium on the learner’s first hand
experience at the expense of theoretical teaching. Fine arts theory
involves listening to the theoretical explanations or arguments of the
art teachers and is something that follows a period of self-help
activities and implementations.
Practical knowledge in fine arts teachings are used only in as
far as there is knowledge in practice, how to carry out the arts
practical task and activities. Here knowledge of fine arts implies the
various arts theory that involves and proceeds activities. So in view of
this one cannot be said to be an art teacher or art educator, although he
cannot do well in both arts theory and practice. Anscombe also in
Leland (1972) declares that:
A man has practical knowledge who know how to do things,
but that is an insufficient description, for he might be said to
know how to do things if he could give a lecture on it,
though he was helpless when confronted with the task of
doing them (p5).
So in this context, fine arts teaching theory and practice in
secondary schools in Kano state were found to be interrelated,
although they are two separate entities. Arts practical knowledge is
required for the solution of arts practical problems, which should be
solved by producing something a thing in art works to proof. Practical
knowledge in fine arts cannot be recognized, as the same as the
knowledge in fine arts theory. Example, that so and so is the best
theory to adopt in order to meet a practical problem.
It is important to note generally that contrast between
theoretical and practical fine arts teaching are in terms of the
distinction between theoretical and practical fine arts task. Practical
art works are not always restricted to knowing how to do and being
able to do art works, or carry out a particular art task. There must have
involvement of both technical and Practical Knowledge. According to
Shore (1976), “Technical knowledge in art consists of knowledge of
the rules (theory) that governs a task or activities.” A painter has
technical knowledge if he can produce painting under the theory of
colours and principles of perspective. This is rough contrast between
theory and practice in fine arts teaching. On this account, fine arts
practical knowledge can only be manifested both in fine arts practical
activities, such as painting, sculpture, ceramics, architectures and so
on. And also in fine arts theory as the studies, the teachings,
theorizing art education, art history, anthropology, cultural displace,
play right, creative writing, music, and dance and so on.
Educational theory and practice are synonymous. Discussions
about the theory and practice of teaching attract several comments.
The comments had been made in the light of concept of theory and
practice of education. Such as the comments made by Hist, in Hartnett
and Naish, (1976). Hist holds that there could be something called
“the theory of education: ibid, here, refers to a constructive theory to
determine and guide the activities not such a theory that is akin to
scientific theory which attracts philosophical questions.
Educational theory and practice in teaching fine arts constitute
the theory justifying facts, certainly, by reference to the various
theoretical disciplines that are relevant to art education such as
psychology, culture believes, anthropology, art history, and so on.
Theory of arts teaching states the principles and generalizations;
which prescribe or proscribe certain type of action to be taking when
teaching. This includes justifiable views about the nature of art
education, its organization, and its methods. The theory of arts
teaching implies a justifiable collection of rational principles for fine
arts practice. Principles, here, refers to the practical generalization
which is necessary for application in to practical teaching. The fine
arts theory and practice are not just so much description of what is
now possible in arts teaching in secondary school in Kano state but
also the outlines of long-term principles in art education.
2.06
Theory and Practical Teaching Materials in secondary schools
The educational values of instructional materials, in teaching
Fine Arts, are enormous and serve as guidelines on strategies for the
selection of appropriate instructional materials as well the appropriate
teaching methods in both theory and practice.
The use of instructional material in teaching Fine Arts is very
necessary. It explains the materials as they are used in disseminating
art education and understanding of art activities carried out in
secondary schools.
Tracing the significance of instructional materials Brown, Oke
and Brown (1982) confirmed that, teachers more often make over
verbalization in teaching. By this teachers excessively use much word
to convey meaning to students in the classroom. They also assert that
the problem is that teachers tend to talk too much without really
saying anything. They also tend to ‘talk at’ the students instead of
tending to ‘talk with’ them. Thus teachers keep on talking regardless
of student’s non verbal signals, that they are bored or even completely
lost.
In this statement, they are referring to the predominant methods
of teaching that have been used for many years: lecture and discussion
methods, and which they have decided to call Traditional Time Tested
Methods (T.T.T.M.), because, the methods have resisted the test of
many time and periods in the development of education.
2.07 Value of Theory and Practice Teaching Materials in secondary
schools
Due to the technological development of our modern time,
teachers no longer have to use solely by lecture or discussion
methods, which were found to be wordy. To make the teachings
meaningful and to communicate effectively in the classroom, teachers
should use a variety of teaching materials around them that can be
served very well to convey meanings more vividly and more
interesting. Such materials are enlisted in appendix E of this study.
Others are like, according to grant (1978) chalks and boards, charcoal,
old matchboxes and cardboard boxes, clay sticks and match - sticks
times, glasses.
The teaching materials are often called instructional materials,
teaching aids or devices. There are varieties of terms applied to the
teaching materials to indicate the involvement of several senses in the
learning process. Teaching materials are used to supplement or
complement the teacher’s task. They also help to put across in the
class the substance of the instruction. How the instructional materials
are used is what forms the different teaching strategies, techniques
and methods as well as the process of education. Means, (1968) stated
the values and objectives of instructional materials:
Teaching materials are essential part of an effective
educational program. They provide a good substitute
for first-hand experience and, when properly used, do
much to foster learning. Through their varying
appeals, instructional materials are important asset in
extending and enriching the curriculum at all
educational levels. (p. 68)
Instructional materials assist the students to quickly find
solution to their problems, to discuss and to extend their
understanding. Some specific and practical objectives and value of
these “perceptual” materials were given by Kinder, (1965):
… Overcome the limitations of restricted personal experiences of
pupils; overcome the limitations of the classroom; provide for the
direct interaction of the pupils with the realities of the social and
physical environment; provide uniformity of percepts. Give initial
concepts which are corrects, real and complete; Awake new desires
and interests; provide motivation and stimulation; and provides
Integrated experience which vary from concrete to abstract. (p 42-45)
In teaching and learning utilizing audio-visual instructional materials
are very important means for better learning. It makes teaching a
successful. Haask and Facker in Kinder (1965) pointed out that such
instructional aids render services by:
…Creating more vivid impressions; using
additional organs of sense; getting and holding
the student’s attention through change of pace”,
simplifying the knowledge to be learned and
improving the quality of the instructional given
(p.48).
It is, hence, believed that the proper use of the instructional
materials and proper teaching strategies contribute to effective
learning and teaching, because they reduce verbalism, they increase
the performance of learning, they add interest and involvement, they
stimulate self-activity, they provide uniformity of percepts, they
provide continuity of thought, and they provide experience that can
not be easily obtained through other means.
The educational objectives and values of the instructional
materials are innumerable. It is according to Means (1968) “teaching
materials are essential parts of an effective educational programme”
very important for the art teachers to be aware of their most
significant contributions so that they can be offered to facilitate
teaching and learning. They include:
1. the promotion of meaningful communication.
2. ensure better relation and memory to make learning permanent.
3. the provision of first hand experience with the social norms and
physical environment.
4. overcome the weakness and limitations of the classroom activities.
5. provision of common experience on which other learning experience
can be developed.
6. the stimulating and motivating instruments for effective learning and
teaching.
7. the development of interests in the other areas of learning, not only art
theory and practical lesson, but those subjects related to fine arts.
8. encourage active participations when students are allowed to
manipulate materials practically that are used.
9. complementing and supplementing the learning task.
10. they serve as facilities of teaching and learning (p.15).
2.08 Selection of Theory and Practice Teaching Methods in secondary
schools
There are as many methods of teaching Fine Arts as there are
many teachers. However, there are certain teaching strategies that are
used the by the teachers, also there are certain regulations for using
any of arts teaching methods. According to Ozigi and Canham (1978)
the following are some common rules of selecting a teaching strategy,
which should be applied to teaching Fine Arts in the schools. A
method must always be planned, tactful and with techniques. They
enumerated the three rules as:
* Plan: Design the general idea of how to achieve or reach what it aimed
* Tactful: show how the plan is carried out.
* Techniques: The various skills that are needed to carry out the
teaching as planned.
Ozigi explained that normally, the appropriate teaching method for
teaching Fine Arts theory and practice is the demonstration method;
This kind of teaching strategy is often referred to as an “audio-visual”
explanation because it emphasizes the important points of a product
which is visualized by the students and the teacher.
In teaching theory and practical, the demonstration can be used
as a method but it can also be frequently used in relation with other
approaches to teaching as a specific technique. According to Means
(1968)
The demonstration is a process of graphic
explanation of a selected idea, relationship, or
phenomenon. It involves the use of materials and
the provide a visual experience which is usually
increased in value by verbal explanation (p.60).
He added that:
The demonstration generally is utilized with a
group of observer – participants by some one who
is and expert on the given subject. It is often used
to set a goal of activity or to define standard of
performance (p.60)
Therefore, a resourceful art teacher can select this method, because it
can find more application in both theory and practice of teaching Fine
Arts. Fine Arts lessons involving skill learning such as general art on
two and three dimension or art history and applications.
Some educationists such as Dele, grant, Ozigi and Brown
recognize the great impact of audio-visual instructional materials.
Dele (1954) confirmed it and his research indicates that students
remember 10% of what they read; 20% of what they hear; and about
50% of what they hear and see. He concluded that retention increases
as the students get more involved in the learning process. Two
instructional devices which appeal to both sight and hearing are now
becoming valuable teaching aid; He added that these are the sound
motion picture and television. Using audio-visual materials in
teaching practical art works such as sculpture, painting, and drawing.
Talabi (1979) offered score for a more realistic approach to teaching
and learning. The practical work on sculpture or construction of
model of real objects motivates the interest of the class, what appeal
to the senses. Such materials that can be used in teaching sculpture are
like local clay, sawdust and paper Mache. For how to select the
appropriate audio-visual teaching aid for teaching Fine Arts, a teacher
may probably face some problem. The following basic criteria are
provided by Brown, Oke and Brown (1982:
1.
Suitability for the intended purpose, learners and physical qualities.
The teacher should select the materials that would best aid in
achieving the behavioral objectives of the lesson. That is, it is only the
materials that would help to serve the instructional purpose that
should be used. This means that it is only the appropriate and suitable
audio-visual materials should be applied when teaching the theory and
practical aspect of Fine Arts.
2.
In considering the suitability of the instructional material to fit the
need of the intending learners, Callahan and Clark, (1977) believed
that materials are effective only when they are understood and
appreciated by the students using them.
3.
Teacher, whom selecting the teaching instructional material is his
responsibility, should bear it mind that not all those commercially
attractive available materials are always suitable for a specific use. So,
in selecting the type of audio-visual instructional art materials, the
teacher should preview and examine the materials. This is in order for
the teacher to determine whether or not the materials are within the
students’ level of understanding as well as within the range of their
experiential background.
4.
Effective materials attract attention of the users. Hence, in selecting
the art materials, the physical qualities should be considered. Such
qualities
include
attractiveness,
easy
to
handle,
and
other
authenticities as simple colour, novelty and familiarity. There are two
other factors, which are secondary, to be considered in selecting the
types of art materials. The factors are: cost and time involved. Very
cheap art materials are not always the best, likewise to say of the very
expensive ones. The art instructional material should be within the
reach of the students and the school’s budget. The cost should be
reasonable enough.
It is in the best experience of the researcher, to suggest here that
the use of some audio-visual art materials may need more than one
period of 45minutes, although, some schools allocate double periods
for Fine Arts practical lessons. However, the art teacher should
consider the time factor of the periods in order not to disrupt other
teacher’s plan. It is important when selecting any type of the
instructional art materials for theory and practice of art teaching, the
teacher should ask himself this fundamental question: Is it worth the
money and time involved to use of these or those instructional
materials?
2.09
Using Instructional Materials for Teaching Theory and
Practice Lessons in secondary schools
The values that imbibed from the instructional materials can
only be applicable to the practical art teaching, when the skills of
using them in art teaching. Wittch and Schuller, (1967), caution
that instructional materials by themselves cannot do much to
improve or promote learning. Their value lies in the professional
skills of the art teacher in using or handling them. Tracing the
fundamental steps to be considered for a more effective use of
instructional art materials, Brown, and others (1982), enlisted the
following steps:-
1.
Prepare Yourself: The teacher should prepare himself with the
materials that are intended to use. This will enable the art teacher
to decide exactly when and how the materials should be
presented. It will also enable the teacher to determine which part
of the audio-visual experience needs emphasis or an extended
elaboration.
2.
Prepare the Materials: All equipment and materials should be
tested for proper functioning and set ready for use. All the
materials should therefore be arranged and positioned in such a
way that they come in hand at the exact time they are needed.
3.
Prepare the Environment: This involves making sure that the
environment is conducive for the use of the audio-visual
experience planned. When using audio-visual material the class
should be properly darkened and free from distractions. This is to
clear and improve visibility and quietness for the audience. In
other words, it is to improve visibility and calm for the students
to see clearly and hear distinctly what is being said and done.
4.
Prepare the Students: For the students to gain maximum benefit
from the lesson, they should have sufficient background
information about the subject under study. It is necessary to stress
the important areas the students are to learn from the exercise so
that to enable them to and identify what sort problems the
materials hope to solve or shade more light on. Students should
also be informed about what they are expected to do while and
after using the materials.
5.
Use of Materials: All materials used should be properly and
adequately introduced. The presentation should be accompanied
with necessary explanations, comments, and demonstrations.
When using audio-visual equipment, the teacher should make
sure that the picture is well focused; and sound is well audible.
All these imply that the materials should be used in the most
professional way in order to get the desired effect and result.
6.
Evaluate the Materials:
As a requisite for evaluation, the fine
art teacher should finally ask himself these fundamental
questions after using the instrumental materials:
-
Did the materials help in achieving the purpose?
-
Did the students understand and appreciated, the materials or
where they bewildered or confused?
-
What portion of the audio-visual experience needs improvement
in future?
-
Was it worth the time and energy spent to prepare and use the
materials?
Confirming these necessary questions with positive answers,
suggest a successful teaching of fine art for a practical or a theory
lesson.
2.10 Summary of Literature and uniqueness of the Study
The theory and practice of teaching Fine Arts are separate entities
but they are related. Importance of Fine Arts in secondary school is
stressed in this chapter. The state of Fine Arts teaching in secondary
schools and the relationship between theory and practice of teaching
Fine Arts as well as the instructional art materials, methods of art
teaching, and the possible solution to the problems are compounded
in the two relative terms.-
Theoretical framework was provided indicating (NRDC) based on
Getty Center for Education in Arts, Discipline Based Arts Education
(DBAE) and Nigeria Educational Research Development Council.
The researcher discussed different issues raised by some authorities,
such as Entwistles in Hartnett and Naish (1976), Brown (1973), Green
in Leland (1972), Anscombe in Leland in (1972), Hist in Hartnett and
Naish (1976),
The functions of fine arts were counted down according to some
scholars as Olorukoba, (1991), Ajayi (1983), fafunwa (1974) and
Uzoagba (1978). Theory and practice of teaching fine arts were
discussed tracing the importance of its teaching instrument as stated
by Brown, Oke, and Brown, (1982), Means (1968) and Kinder (1965)
the appropriate way of teaching fine arts was also discussed basing the
idea on the contributions of Ozigi and Canham (1978).
CHAPTHER THREE
RESEARCH METHODOLOGY
3.1
Introduction
The research methodology was planned to specify the methods
which was applied in the data collection and analysis in the research
design and to provide the procedural outline for the conduct of the
research. The methodology adopted in this study provides the
essential blueprint and framework for tackling the research problems.
This chapter serves as a guide in the delineation and limitation of the
research purpose.
3.2
Research Design
The research design used in this study is descriptive survey.
Descriptive research is used to obtain information concerning the
current status of what exists at a time. Therefore the research design is
directed towards determining the extent of the gap that exists between
the theory and practice of teaching Fine Arts in secondary schools in
Kano State.
The research design was adopted in order to get information
about the relationship between the theory and practice of teaching
Fine Arts in secondary schools. The idea was to obtain information
about the gap that exists between the two complementary variables
and the cause effect relationship.
3.3
Population And Sample
The population for this research was secondary schools in the
State. One (1) secondary school offering Fine Arts was selected using
the cluster sampling technique from each of the zones. It was
discovered that there are twenty-one (21) secondary schools from all
the ten (10) zones offering Fine Arts.
Ten (10) schools were selected from the ten (10) zones and the
eleventh (11th) school was chosen from the municipal zonal education
which the two schools are far apart from each other. Therefore, the
eleven (11) schools were was from the twenty - one schools in the
zones. In selecting the sample schools, cluster sample technique was
adopted. That was because, each zone has two or three secondary
schools offering Fine Arts located very close to each other. One (1)
secondary school is chosen from each of the zones. The sampling was
conducted through “coining” process.
Random sampling technique was adopted when selecting the
teachers and students representatives. This was achieved through
drawing the representative members from the entire population at
random in each of the selected schools from the ten zones. From the
total population, a considerable percentage (%) of the representatives
was taken from the selected schools for the random sampling. In each
of the selected schools, students and art teachers were sampled for the
survey.
Table 1: schools sampled and their population
S/No. Zones
1
Bichi
No of
Schs.
2
Sel. Schs
G.S.S Bichi
Population
(35) Students
Sampled
100%
(20)students
57.1%
2
Danbatta
2
3
Gaya
-
4
Gwarzo
2
5
6
7
8
9
Munjibir
Municipal
Nassarawa
Rano
2
4
2
1
Tudun
1
Wada
10
Wudil
3
(4) Teachers
(2)Teachers
G.S.S
(30) Students
(20) Students
Rimin Gado
(2) Teachers
(1)Teachers
G.S.S Kabo
-
-
(41) Students
(20)Students
(3)Teachers
(2)Teachers
(22) Students
(20)Students
(3)Teachers
(2)Teachers
G.G.C Dala &
(45) Students
(30)Students
W.T.C Kano
(3) Teachers
(3)Teachers
Dinon S.S.S.
(31) Students
(20)Students
Nassarawa
(2) Teachers
(2)Teachers
G.G.S.S Kura
(41) Students
(30)Students
(3)Teachers
(2)Teachers
Govt. College
(25) Student
(20)Students
TudunWada
(2) Teachers
(1)Teachers
G.S.S &
(42) Students
(30)Students
G.G.S.S
(3) Teachers
(2)Teachers
11
(312) Student
(210) Students
(52.4%)
(25) Teachers
(15) Teachers
G.T.C Ungoggo
66.6%
48.8%
90.2%
66.6%
64.4%
73.1%
80.0%
71.4%
Sumaila
TOTAL
21
(100%)





52.4% = sampled schools
67.3% = sampled student
60.0% = Sampled Teachers
68.7% = mean ( x )% of each school selected
01.4% = the simple error between 68.7% and 67.3%
Table 1 shows ten (10) zonal education areas, the number of
schools offering fine arts in each zone, the selected schools from each
zone, the population of both teachers and students and the total
68.7%
percentage of the sampled schools, students, teachers, mean (x)
average of each school selected and the simple error between the
mean and the sampled students
3.4
Research Instruments
With regards to the nature of the research, the researcher applied
some categories of instruments for the data collection. Observation
and interview were used in order to justify the information obtained
by the returned questionnaires. Interview and art teacher’s guide were
also applied to identify areas of problems and solutions to the
problems.
Students’ and Teachers’ Questionnaires: formed the major source
of information from both the students and the teachers from the
selected schools. The students and the teachers completed the
distributed questionnaire and returned them to the researcher for
interpretations of the data obtained.
The students’ and the teachers’ questionnaire contained a
considerable number of items which were divided into A, B, and C.
Sections. A of students’ and teachers’ questionnaires contained fifteen
(15) different items and Sections ‘B’ and ‘C’ contained thirteen (13)
and twenty-one (21) different items each in addition to the questions
provided in section ‘A’.
The mode of completion in some of the questions in the
questionnaire were filling the blank, completions of statements and
ticking the correct responses.
These instruments were adopted in consideration with the level of
the students’ ability and the topics of the research.
3.5
Validations of the Instruments
In the attempt to confirm the extent to which the research
instruments could be said to be valid, the following criteria were
followed.
1.
Various art teachers were requested to determine the various teaching
methods of Fine Arts. The art teachers were drawn from each of the
selected secondary schools offering Fine Arts including the Head of
Department, Fine Arts Kano Education Resource Department
(K.E.R.D).
2.
In order to have a valid result the instruments used for collecting the
data were checked through the following four (4) procedures:- The
questionnaires were vetted by the researcher’s supervisors and some
corrections were made on those items that sounded to be vague. Some
modifications have been made on both the questionnaires. The
instruments were applied in similar secondary schools and the result
of the administered questions were collected and analyzed.
3.
The observational guide was prepared in order to observe a typical art
classroom teaching, so as to identify the extent of the gap existing
between the theory and practice of teaching fine arts in Senior
Secondary Schools and the particular aspect of fine arts that are
experiencing the high degree of the gap. The methods of teaching
organization of content and objectives that are best in the teaching of
fine arts. And the types of fine arts teaching materials
3.6
Data Distribution and Collection
The data was distributed and collected from the eleven (11)
selected secondary schools offering Fine Arts in the State. Both
students’ and teachers’ questionnaires were distributed to the selected
schools and collected from the schools. The selected secondary
schools were drawn from the ten (10) Kano State Zonal Education
Areas.
Total number of two hundred and ten (210) questionnaires were
equally distributed to the selected students at random from the
selected schools; and the total number of fifteen (15) art teachers’
questionnaire were also equally distributed to the fifteen (15) art
teachers. One (1) art teacher is chosen from the schools having only
two (2) art teachers; and two (2) art teachers were sampled from each
of the selected schools having more than three (3) art teachers. Both
the students’ and the teachers’ questionnaires were one hundred
percent (100%) returned. The table below indicates the distribution
and returned of both the students and the art teachers questionnaires.
Table 2: Data Distribution and Collection
Zone
Sel. Schs. Sampled
Sampled
Students
Teacher
questionnaires questionnaires
Bichi
1 school
20 students
2 Teachers
Danbatta
Students &
%
teachers
questionnaire
22(Stu/Teac.) 100%
1 school
20 students
1 Teacher
-
-
-
-
-
Gwarzo
1 school
20 students
2 Teachers
22(stu/teac.)
100%
Munjibir
1 school
20 students
2 Teachers
22(stu/teac.)
100%
Municpal
2 schools
30 students
2 Teachers
32(stu/teac)
100%
Nassarwa
1 school
20 students
1 Teacher
21(stu/teac.)
100%
Rano
1 school
30 student
2 Teachers
32 (stu/teac.)
100%
T/Wada
1 school
20 students
1 Teacher
21(stu/teac.)
100%
Wudil
2 schools
30 students
2 Teachers
32(stu./teac)
100%
Total
11 schools
210 students
15 Teachers
15(stu/teac.)
100%
Gaya
21(Stu/Teac.) 100%
%
52.4%
N.B:
100% Returned
100%
100%
Returned
Returned
SEL. SCHS. - Selected Schools
STU/TEAC - Students and Teachers
The researcher had direct discussions and interviews with the
students and teachers especially those who have not been provided
with the questionnaires. That was to enable the researcher to get more
information on what really happens as the result of the existing gap
created between the theory and practice of teaching of fine arts in the
schools.
The researcher studied some aspects and areas of fine art that need
not questions or other tools for the data collection. This was to enable
the researcher to have his own personal view about the problems, and
to give objective suggestions for the problems.
3.7
Data analysis
In this research simple statistical methods of data analyses were
used. Distributed and collected questionnaires were analyzed and
discussed using frequencies (f) and percentages (%). Responses to
each of the questionnaires were illustrated in tabular forms. Decimal
points percentages (.%) in tables ten (10) and twelve (12) were
rounded up to the nearest (whole) hundred percent (100%) in order to
approximate.
100%
CHAPTER FOUR
DATA PRESENTATION, RESULTS AND DISCUSSIONS
4.1
Introduction
The main objective of this chapter is to present the results and
discuss the findings. The data collected were analyzed and discussed
along side with each of the tables.
4.2
Analysis of Students’ Questionnaires
TABLE 1: Aspect of Fine Arts taught in Schools
Responses
No. Of Students (f)
Percentages
Theory of fine arts lessons
136
65%
Practical fine arts lessons
63
30%
Both the theory and practical
11
5%
Total
210
100%
Table 1 shows that theory aspects of Fine Arts was given more
considerations than the practical aspects. Most students indicated that
their teachers gave practical lessons after having theory lessons
separately. Five percent (5%) of the students showed that both the
theory and practical lessons were taught together especially when the
art teachers were making explanations on some illustrations and
demonstrations on a specific project. Thirty percent (30%) indicated
that practical lessons were taught.
TABLE 2: Aspect of Fine Arts liked by the Students
Responses
No. Of Students (f)
Percentage
The theory
67
31.9%
The practical
97
46.1%
Both the theory and
46
22.0%
210
100%
practical
Total
Table 2 indicates that forty six percent (46%) of the students
liked to have practical arts lessons. This was probably because most
art practical lessons involved play-way activities, and students from
their earlier stages of development enjoyed play activities. Oral
discussions with the students also show that the students enjoy the
theory aspects of Fine Arts. Almost thirty - two percent (32%) of the
respondents and twenty - two percent (22%) of the students enjoyed
both theory and practice of Fine Arts teaching.
TABLE 3: Arts Materials in the teaching of theory and practice in
schools.
Responses
No. Of Students (f)
Percentage
Not Available
178
84.8%
Available
32
15.2%
Total
210
100%
Table 3 shows that eighty - four percent (84%) of the students agreed
that there was lack of materials of teaching practical and this affected
the learning activities. This also indicated that most students relied on
the art materials in order to learn Fine Arts. Fifteen percent (15%) said
materials were available for teaching practical.
TABLE 4: Learning Experience for the JSS level
Responses
No. Of Students (f)
Percentages
Drawings
19
9%
Paintings
21
10%
Modeling
17
8%
Craft
29
14%
Dressing
4
2%
Music
21
10%
Singing
21
10%
Dancing
21
10%
Textile
19
9%
Graphics
15
7%
Ceramics
15
7%
Other areas
8
4%
Total
210
100%
Table 4 shows that the students learnt by activities in their
previous junior section art projects and works. Handcrafts were the
predominant activities they did. This was indicated by fourteen
percent (14%) of the students. Painting; music, singing and dancing
were followed with the ten percent each. Modeling such as sculpture,
paper máchê and ceramics were showed with height percent (80%).
The students learned drawings, dressings, music, textiles, graphics and
other areas of Fine Arts such as art education and appreciation.
TABLE 5: values of theory and practice
Responses
No. of Students (f)
Percentage
There is need
178
84.8%
There is not need
32
15.2%
Total
210
100%
Table 5 shows that eighty - four percent (84%) of the student
get more interest in practical art lessons than the theory. This is
because practical lessons involved art practical activities and
handlings of various art materials.
TABLE 6: periods allocated to theory and practical.
Responses
No. of Students (f)
Percentage
One single period
0
0%
One double period
42
20%
One single & one double periods
168
80%
Two single & two double periods
0
0%
Totals
210
100%
Table 6 indicates that eighty percent (80%) of the students had
one single and one double period for the theory and practical
(including the studio works), while twenty percent (20%) of the
schools use one double period per week for theory and practice. No
school used one single or two single and two double periods. That was
because, one single period was used for the theory and one double
period was use for the practical lessons. It also enabled the students to
handle their art materials in a capable way through skillful activities.
TABLE 7: use of practical activities
Responses
No. of Students (f)
Percentage
Yes
181
86.2%
No
29
13.8%
Total
210
100%
Table 7 indicates eighty - six (86%) if the students indicated
they used practical activities art studio. Thirteen percent (13%) said
studio works were done in their respective classes or outside the
classrooms. The students enjoyed most of the art activities in practical
art works.
TABLE 8: appropriate methods of teaching theory courses
Responses
No. of Students (f)
Percentage
Lecture method
88
41.9%
Discussion method
38
18.1%
Discovery method
63
30.%
Research method
21
10.%
Total
210
100%
Table 8 shows that lecture method of teaching Fine Arts was
(42%) the most used method. It was followed by discovery method
with (30%), discussion method (18%) and research method (10%).
TABLE 9: comparison of theory and practice
Responses
No. of students (f)
Percentage
Both are significant
88
41.9%
theory is significant
38
18.1%
practice is significant
63
30%
Both are not significant
21
10%
Total
210
100%
Table 9 indicates forty - two percent (42%) of the students
believed both theory and practice of teaching Fine Arts were
important. They expressed their feeling on the significance of the two
in a relative term such as “the arts theory help to make arts practical in
logical manner and the practice helps to develop new theory. Thirty
percent (30%) of the students said only practice of Fine Arts should
learnt. Eighteen (18%) of the students said theory of Fine Arts should
learnt, while only ten percent (10%) of the students showed that both
theory and practice of Fine Arts teaching were taught.
4.3
Analysis of the Teachers’ Questionnaire
TABLE10: Academic Qualification of Fine Arts Teachers
Qualification
No. of Teachers (f)
Percentage
O.N.D.
1
6.7%
N.C.E.
5
33.3%
H.N.D.
5
33.3%
B.A.
2
13.3%
B.Sc.
0
0%
B.A. Ed.
0
0%
P.G.D.E.
0
0%
M.A.
2
13.3%
M.Sc.
0
0%
Ph. D.
0
0%
TOTAL
15
100%
Table 10 shows that thirty - three (33%) of the teachers had
NCE and HND. Thirteen percent (13%) had B.A and M.A. one
percent (1%) had OND. This indicated that Fine Arts teachers in
Kano State were qualified to teach theory and practical.
TABLE 11: problems of teaching theory and practical
Responses
No. of Teachers (f)
Percentage
Lack of practical materials
4
27%
Lack of art text books
2
13%
Lack of parental supports
3
20%
Lack of fine art studio
6
40%
Total
15
100%
Table 11 shows that forty percent (40%) of respondents
indicated there was the problem of lack of studios. Twenty seven percent (27%) said lack of materials, twenty percent
(20%) lack of parent support and thirteen percent (13%)
indicated lack of textbooks. These problems affected the
teaching of both theory and practical courses.
TABLE 12: Where Theory and Practical Lessons Are Normally
Conducted
Responses
No. of Teachers (f)
Percentage
In the normal classroom
5
33.3%
In the art studio
8
53.3%
In the school compound
2
13.3%
Total
15
100%
Table 12 indicates that fifty - three percent (53%) of the
teachers conducted their lessons in studios, thirty - three percent
(33%) of the teachers carried their classes in normal classroom, and
thirteen percent (13%) of the teachers used just school compound.
Normal classroom and school compound were not adequate for either
theory or practice of teaching Fine Arts.
TABLE 13: frequency of the use of homework in theory and practice
Responses
No. of Teachers (f)
Percentage
Regularly
13
86.7%
Not regularly
2
13.3%
Total
15
100%
Table 13 shows that eighty - six percent (86%) of the art
teachers acknowledged that they gave regular theory and practical
home works, thirteen percent (13%) of the art teachers did not, give
the students class work during the school hours. It is often argued that
the practice of art requires constant practice so homework should be
given after practical experiences.
TABLE 14: frequency of homework given
Responses
No. of Teachers (f)
Percentage
Once a week
8
53%
Once a term
1
7%
Once a year
0
0%
Twice a week
1
7%
Twice a term
5
33%
Twice a year
0
0%
Total
15
100%
Table 14 indicates that fifty - three percent (53%) of the art
teachers gave their home and class works once a week, thirty - three
percent (33%) of the art teachers twice a term, and seven percent (7%)
of the art teachers each gave once a term and twice a week gave it
respectively. No teacher gave assignment either once a year or twice a
year. Assignments should be considered as the best ways to improve
theory and practice; they should given to students regularly.
TABLE 15: Reasons for using assignments
Reasons
Percentage
To enable the students to have enough
53%
experience
No. Of Teachers
Eight
(8)
teachers
accepted this reason
To enable the art teacher to treat theory in
7%
its broader aspect
I do not have a specific reason for giving
One (1) teacher accepted
this reason
0%
assignment
No teacher accepted this
reason
To keep students working in the middle
7%
and ends of the week
To give students more time for reading
(1)
teachers
accepted this reason
33%
and concentration
Assignment can be given at any moment
One
Five
(5)
teachers
accepted this reason
0%
No teacher accepted this
reason
Table 15 indicates that fifty - three (53%) of the arts teachers
gave theory and practical assignment in order enable the students to
have enough art experience. Thirty - three percent (33%) of the art
teacher gave assignments in order to enable him treat the theory of art
in details while seven percent (7%) of the art teachers used
assignment to keep the students busy at the weekend and gave theory
more broadly. No teacher gave the assignment at any suitable time.
TABLE 16: Sources of getting teaching materials
Responses
No. of Teachers (f)
Percentage
From the school authority
3
20%
3
20%
From parents
2
13.3%
From the students
1
6.7%
From Fine Arts club
2
13.3%
By improvisation
4
26.7%
Total
15
100%
From the Ministry if
education
Table 16 indicates that twenty - six percent (26%) of the Fine
Arts teachers got their teaching materials improvisation, twenty
percent (20%) each got materials from Ministry of Education and
school authorities respectively. Also, thirteen percent (13%) each got
materials from parents and art clubs. Only six percent (6%) of the
students sourced materials by themselves.
4.4
Analysis of both the Teachers’ and the Students’ Questionnaires
The questions in this section were concerned with both the students’
and teachers’ questionnaires on theory and practice of teaching fine
arts in Secondary Schools in Kano State.
TABLE 17: Likert Scale of measurement
S/N
ITEMS
SA
A
UD
DA
SD
%
1.
There are enough Fine Arts
0%
0%
8%
7.1%
84%
100%
Teachers in Kano state secondary
schools
2.
There are fine arts studio in the 40%
46.2% 10.2% 0%
3.6%
100%
30.2% 44%
100%
87.1% 12.9% 0%
0%
0%
100%
28%
18.7% 7.1%
46.2% 0%
100%
0%
47.1% 8%
20 %
schools for teaching theory and
practical fine arts lessons
3.
There are adequate Fine Arts
15.1% 4.9%
4.9%
theory and practical teaching
materials for the teaching
4.
Theory and practice get adequate
attention in the schools
5.
Practical aspect of Fine Arts are
given more consideration than
theory aspect of Fine Arts
6.
Theory aspect of Fine Arts are
24.9% 100%
given more consideration than
practical aspect
7.
Assignments on theory and
22.2% 46.2% 31.6% 0%
0%
100%
23.2% 42.2% 30.2% 4.4%
0%
100%
10%
40%
40%
10%
0%
100%
10%
40%
40%
10%
0%
100%
43%
43%
0%
7%
7%
100%
practical art works are usually
given
8.
Assignments and project theory
and practical art works are
usually done individually
9.
An exhibition is usually
organized
10.
The schools organize trips and
excursion for the fine arts
students
11.
Studio practical lesson on are
taught
12.
Suitable teaching methods are
20%
13.3% 20%
12.5% 34.2% 100%
normally applied in reaching
theory and practice
Item 1 in table 17 shows that the respondents disagreed that
there were enough qualified art teachers in their schools. Eight percent
(8%) respondents were not sure, seven point one percent (7.1%)
disagreed and eight percent (8%) strongly disagreed with the notion.
Items 2 in table 17 shows that forty percent (40%) of the
despondence strongly disagreed and forty six point two percent
(46.2%) of the respondents agreed, ten point two percent (10.2%)
undecided, nobody disagreed and three point six percent (3.6%)
strongly disagreed. This revealed that most of the schools are having
fine arts studio or places where they conduct their practical fine arts
work.
Item 3 in table 17 indicates that fifteen point one percent
(15.1%) of the respondents and four point nine percent (4.9%) agreed.
Another four point nine percent (4.9%) were not sure while thirty
point two percent (30.2%) and forty four point nine percent (44.9%)
disagreed. This shows that although most schools have fine arts
studio, not all of them have adequate fine arts teaching materials.
Item 4 in table 17 reveals that eighty seven point one percent
(87.1%) and twelve point nine (12.9%) agreed. The rest are
undecided. It also shows that fine arts periods are attended regularly
and are taken into consideration.
Item 5 in table 17 indicated that twenty eight percent (28%)
respondents strongly agreed, eighteen percent (18%) and seven point
one percent (7.1) respondents were not sure, so they have not decided
on which scale they should tick and forty six point two percent
(46.2%) respondents disagreed.
Item 6 in table seventeen indicated that nobody strongly agreed
and forty seven point one percent (47.1%) respondents agreed, eight
percent (8%) were not sure, twenty percent (20%) disagreed and
twenty four point nine percent (24.9%) strongly disagreed. This
means that theory lessons in fine arts are not being taught in some
cases. More practical lessons are taught more often than theory
lessons.
Item 7 in table 17 indicated that twenty two point two percent
(22.2%) strongly agreed, forty six point two percent (46.2%) agreed
and thirty one point six percent (31.6%) undecided with the statement.
Item 8 in table 17 indicated that twenty three point two percent
(23.2%) and forty two point two percent (42.2%) respondents
responded agreed, thirty point two percent (30.2%) were not sure and
four point four percent (4.4%) respondents disagreed. This also shows
that most of the students do their assignments and projects
individually; only few do their works in group.
Item 9 in table 17 indicated that ten percent (10%) and forty
percent (40%) of both students and teachers organize annual fine arts
exhibition in their schools, forty percent (40%) were not sure, and ten
percent (10%) disagreed with the assertion. With this data it appeared
that most schools organize fine arts exhibition.
Item 10 in table 17 reveals that ten percent (10%) and forty
percent
(40%) of the total respondents agreed that their schools
organize excursion and trips outside their localities. Forty percent
(40%) of the respondents were not sure while ten percent (10%)
disagreed with the statement.
Item 11 in table 17 indicates that forty three percent (43%)
strongly agreed, forty three percent (43%) agreed, seven percent (7%)
disagreed and another seven percent (7%) strongly disagreed.
Item 12 in table 17 shows that twenty percent (20%) of the
respondents strongly agreed, thirteen point three percent (13.3%)
agreed, twenty percent (20%) undecided, twelve point five percent
(12.5%) disagreed and thirty four percent (34%) strongly disagreed.
4.5
Major Findings
The data analysis on the returned students and teachers
questionnaires, in this chapter revealed that there were few
responses that are very similar and corresponded to one another
from which the raised research questions, in chapter one, were
answered. The following items are the highlight of the major
findings of the research The findings have to do with theory and
practice of teaching of fine arts in secondary schools in Kano state.
1.
Students developed interest in fine arts through art appreciation but
some the students dropped the subject in their SS III because of lack of
enough art materials and studio. Theory of fine arts teaching was
raised above the practical teaching of fine arts, though the student
enjoy most of the practical art works. So the need more fine arts
activities than the theory lessons. Enough times was given for the
theory and practical lessons using lecture and group project works.
The students noticed that both theory and practical lessons are
significant, but most a time theory lesson was taught because there
were no enough art studio for practical in Kano state secondary
schools. Fine arts teachers face practical problems such as inadequate
provision of art materials both theory and practical lessons.
Classrooms were used for teaching fine arts while in some schools,
lessons were carrying out in the school environment. Art teachers get
their teaching materials by improvisation. Most of the fine arts works
are done using locally made art materials.
2.
The vast majority of the art teachers stated that each school has the
responsibility for developing and strengthening the theory and
practice teaching fine arts methods. The best way to achieve this was
to accomplish and encourage the practical teaching of fine arts by
following the right theory of teaching. These principles can only be
achieved through considering both the theory and practice of teaching
fine arts in the school program.
3.
It was discovered that least importance, as regards to the objectives of
fine arts’ practical was attached to development of cultural
background in terms of social graces and manners. In most cases,
theory and practical fine arts teaching agree fairly and closely in
regards to the degree of importance and the amount of emphasis given
to the specific art works to done. There is a definite difference in
regards to the amount of emphasis being given to the teaching of
sculpture and mouldelings base on our cultural heritage and arts and
production of representation arts such as: sculptural piece were not
usually taught.
4.
It was also discovered that the best way for organizing and presenting
fine arts theory and practical content was to have a regular scheduled
and adequate periods for Fine Arts teaching. Fine Arts lessons were
given either single or double periods per week.
5.
The local art material and tools for teaching fine arts in Kano State
Secondary Schools were the basic equipments for fine arts teaching
theory and practice. Most of the fine arts teaching materials available
on the schools categorically served one specific function or the other
in theory and practical lessons. Fine arts require the use of various art
materials. Most students were very creative in nature. They produce
things out of improvised art materials because of the scarcity of
modern ones and some other improved art materials.
6.
Practical art lessons were not much taught, although, the students like
practical lessons more than the theory lessons due to scarcity of art
materials, equipment and studio. Hand crafts, drawings, performing
arts paintings and textiles were mostly taught in fine arts practical
lessons and as the aspects of fine arts in secondary schools.
7.
Most of the schools allocated adequate periods; one single and one
double period each class per week. The teachers teaching fine arts,
very often used lectures and group assignment methods. The students
view fine art as one of the very significant subjects in an academic
line.
8.
The teachers complained that lack of fine arts teaching materials
affect their teaching. Lessons are conducted in a temporary fine arts
studio. Most of the fine arts teachers stated that they regularly give
homework and assignment once a week or twice a term, to enable the
students to have more experience and to give enough time for
readings and concentration.
9.
The teachers stated that there were lack of standard fine art studio and
lack of high qualified fine teachers. Most of the teachers indicated that
they get their teaching materials by improvising the available local
ones they can get or from either the State Ministry of Education or
from the schools. The teachers also expressed their views that fine art
in Kano State is one of the significant schools subjects.
10.
The research findings presented that; there is considerable amount of
gap existing between the theory and practice of teaching fine arts in
Kano State. Some extent of discrepancy between the theory and the
practice of teaching fine arts in the state was sufficiently described as
very serious in the evaluative form.
11.
The findings have not clearly showed the relative influence of all the
factors that are in the fine arts instructional materials mentioned, such
as the cost and the price of the materials, the types of topics treated in
the lessons and, the qualifications of the art teachers.
12.
Negative impressions and misconception of fine arts are caused
mostly by the poor application of fine arts theory and practical art
teaching methods in the schools. That is to say that lack of systematic
scheme of work, principles and the right teaching methods. Greatly
affect the theory and practice of teaching Fine Arts in Kano State.
13.
It was also discovered that because of the lack of interest shown in
fine arts by the schools and college authorities, more and more
students drop the subject as they advance in their studies. Higher
schools and universities were very reluctant to grant entrance and
credit for the secondary schools art works.
14.
In addition, it is stated that the findings have substantiated much that
had been assumed in the research. The questions regarding the
application of fine arts theory and practical teaching have appeared to
be logical and acceptable to the researcher.
CHAPTER FIVE
SUMMARY, CONCLUSIONS AND RECOMMENDATIONS
5.1
Summary
The research study was conducted on the following standard
and basic arrangement: preliminary pages, five chapters and list of
tables.
The preliminary pages contained tittle page, declaration,
dedication Certificate, acknowledgement, abstract and table of
contents.
Chapter one is the introduction of the study and it covered the
background of the study, statement of the problem, objectives of the
study, significance of the study, research questions, research
hypotheses, delimitation and scope of the study, definition of terms as
well as organization of the study.
Chapter two contains the review of related literature which
covered the introduction of the reviewed literature, theoretical frame
work of the study, relationship between theory and practice of
teaching fine arts in secondary schools in Kano state, functions and
objectives of fine arts in secondary schools, theory and practical
teaching materials in secondary schools, values of theory and practical
teaching materials in secondary schools, selection of theory and
practical teaching materials in secondary schools, using instructional
teaching materials for theory and practice lessons in secondary
schools, summary of the related literature and uniqueness of the study.
Chapter three is the methodology adopted in the research study.
It contained the introduction of the chapter, research design,
population and sample, research instruments, validity of the
instruments, data distribution and collection and data analysis
procedure.
Chapter four contained the research data presentation, results
and discussions. It cover the introduction of the chapter, analysis of
the students’ questionnaire, analysis of the teachers questionnaire,
analysis of both the teachers and students questionnaires and the
research major findings.
Chapter five covered mainly the summary of the research study,
conclusion of the research, recommendations, bibliography and
appendices of the study.
Finally, the list of tables page contain the schools sampled and
their population, data distribution and collection, analysis of the
students questionnaire, analysis of the teachers questionnaire, analysis
of both the teachers and students questionnaires, checklists and fine
arts practical teaching materials available in secondary schools in
Kano state as their nature of both qualities and quantities, map of
Kano state showing the scope and the area of the study as well as the
introductory
letter presented to the various places that the study
concerned with .
5.2
Conclusion
It was concluded that the finding supported the research
hypothesis of this study and found that there was a gap existing
between the theory and practical teaching of fine arts in Secondary
School in Kano State. The extent of the discrepancy between the
theory and practice of teaching fine arts was sufficiently described as
very serious. Least amount of gap in the area of theory of teaching
fine arts was discovered. Generally, there was no much deal of gap
found in the area of theory and practice. However, some very serious
problem centered around the questions on the fine arts practice, which
is farthest from theory in terms of methods of teaching.
The preliminary solutions of the problems that emerged as a
result of this research study would help to a great deal. One clear
realization resulting from this research was that, the problems of the
relationship between theory and practice of teaching fine arts in Kano
State Secondary Schools was very complex one. That was because the
field of fine arts teaching theory and practice in the state was so broad,
and dealing with the intangibles of the cultures Kano state people.
Certainly, no single research study can uncover all the difficulties
facing fine arts theory and practice of teaching or solve all the
discovered problems. Therefore, I call for a further research that could
be conducted using other aspects of fine arts to find out the factors
responsible for the gaps existing between the theory and practical
teaching of fine arts theory and practice in Kano State.
5.3
Recommendations
From the research findings, it was found that there were problems
in acknowledging the relationship between theory and practice of
teaching fine arts in Senior Secondary Schools which coursed the
degree of gap between the art theory and art practical teaching in
Kano State.
Fine arts teachers and educators in Kano State, therefore, have to
face these challenges by trying to convert the number of disinterested
students to a high level of interested students in fine art. The neglect
of either the theoretical and practical teaching of fine art in the
schools, overtly, displayed by some of the schools, force the students
to become unnecessary swollen headed towards art education in the
state. This attitude by the students had made them to look down on art
as a full career in their school activities. The fact is that, the
application of theory and practice of teaching fine arts are not utilized
relatively. Thus, the students tend to run away from taking the subject
in their further studies.
Instructional fine arts materials are the sources that generate
interest to the leaner and give courage to fine arts teachers in the
classroom. There should be enough scope for the development of fine
arts material in order to facilitate the theory and practice of teaching
fine arts process: Instructional art materials are very essential aspect
of art education in Nigeria. By using the fine arts material, the art
teacher can only find it easy to theorize artwork when teaching. In
selecting the appropriate instructional fine arts materials, the art
teacher must know what should be the aims and objectives of fine arts
teaching, what method of teaching is to be adopted and what kind of
teaching materials are to be used. Well-organized instructional fine
arts materials are the source of inspiration to talent when facts are
taught using the instructional materials. Therefore, through the theory
and practice of teaching Fine Arts a relative terms. The students can
be guided to draw their own conclusion about the importance of the
subject and the topic for discussion in the classroom.
These problems need to be attended to, and as such, the following
recommendations were given:
1.
Adequate time/periods should be provided on the school timetable, for
theory and practical arts lessons; and the teachers should arrange extra
practical art lessons during evening lessons or preps for the students.
These would enable the students to carry out their practical and theory
art works in a conducive atmosphere.
2.
The fine art teachers, with cooperation of the schools authorities
should occasionally organize exhibitions of the fine arts practical
work, and stage drama and cultural dances in the schools. This is to
encourage and arouse the interest of the students.
3.
Both Small and large-scale industries and companies should embark
on mass production of fine arts theory and practical teaching material
to enhance the development of fine art education as part of their
contribution to wards the art and cultural development in the nation.
4.
The theory aspect of fine art teaching should be considered in the
schools, such as art history art education and art appreciation. This
will enable the students to know the history of various cultures in the
state as well as the historical understanding of our traditional and
indigenous art works. Such as mural, local dying, leather work and so on.
5.
Fine art teachers and students should use their own leisure time for
producing personal art work, both the theory and practical so as to
develop more interest in producing art work using the available
resources.
6.
The federal and state governments should provide adequate
recommended textbooks for fine art. These textbooks should come
from the expert publishers and those written by right authors.
7.
Theories of art should be taught through art history, art education and
art appreciation at the three sections of S.S. level. This will help to
acquaint the students with historic places, contemporary Nigeria
artists, local arts and crafts and so an. This will also help the students
to have the opportunity to realize the usefulness of our art cultures and
to enable them to appreciate art cultures.
In addition, it can also be said that the findings have
substantiated much that has been assumed in this research. Basic
assumptions have been made regarding the aspects of fine arts theory
and practice of teaching, which have appeared to be correct. But yet
there has been no much effort made by some researchers to produce
evidence that would either support or refute them. Therefore, a great
deal must be done to close the gaps that exist between the theory and
practical teaching of fine arts in senior secondary schools in Kano
state.
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APPENDIX A
Students’ questionnaire on the teaching of theory and practice
in secondary schools
A questionnaire being designed to investigate the relationship
between theory and practice of teaching fine arts in Secondary
Schools in Kano State. Please help me to complete this questionnaire
to enable me conduct the research exercise. Tick ( ) the correct
response or fill in the blank space with the correct responses from the
alternatives as the case may be.
1.
Name of School:--------------------------------------------------------
-----2.
Which of the following is taught in your school very often?
(a) Theory fine art lessons
(b) Practical fine art lessons
(c) Both the theory and practical art lessons
3.
Which aspects of fine art teaching do you enjoy most?
(a) The Theory aspect
(b) The practical aspect
(c) Both theory and the practical.
4.
What types of art activities do you do in classes?
(a) Drawing
(b) Painting
(c) Modeling
(d) Craft
(e) Music
(f) Dressing
(g) Singing
(h) Dancing
(i) Textiles
(j) Graphics
(k) Ceramics
(l) Art appreciation
5.
What do you prefer practical art works and activities or theory
class lessons? Why?
-------------------------------------------------------------------------------------------------------------------------------------------------------------------
6.
How many art periods do you have per week?
(a) One single period
(b) Double period
(c) On Single and one double period
(d) Two single periods and two double periods
7.
Which of the following teaching methods do you use for theory
and practical lessons?
8.
(a) Demonstration method
(b) Group project method
(c) Project method
(d) Individual work
(e) Lecture
(f) Discussion
(g) Discovery method
(h) Research method
Are theory and practice of teaching fine arts related to each
other? How?
-------------------------------------------------------------------------------------------------------------------------------------------------------------------
APPENDIX B
Questionnaire for teachers on the teaching of theory and practical
courses in Fine Arts
A questionnaire is designed in order to investigate the
relationship between the theory and practice of teaching Fine Arts in
secondary schools in Kano State. Please help me to complete this
questionnaire to enable me conduct the research exercise. Tick ( ) the
correct response that is applicable to the statement made. Fill in the
blank space with the correct response from the alternatives.
1.
Name of School:--------------------------------------------------------
-----2.
Academic Qualification:-----------------------------------------------
-----O.N.D. (
) B.A. (
3.
) N.C.E. (
) M.A. (
)
) H.N.D (
M.Sc (
) BA (Ed) (
) Ph.D (
) P.G.D.E. (
) Other (Specify)
What practical problems do you normally encounter when
teaching theory and practical in school?
(a) Lack of practical materials.
(b) Lack of fine arts text books in the library.
(c) Lack of practical recognition and supports
(d) Lack of adequate standard fine art studio.
4.
Where do you normally conduct your theory and practical fine
arts lessons?
(a) In the normal classroom works and lesson.
(b) In the fine art temporary studio.
(c) In the school compound and art room.
5.
Do you give Fine Arts theory and practical homework? If yes,
how often and why?
(a) Once a week ( )
(d) Twice a week ( )
(b) Once a term ( )
(e) Twice a term ( )
(c) Once a year ( )
(f) Twice a year ( )
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------6.
From which source do you normally obtain materials for theory
and practical?
(a) From the school
(d) From the students
(b) From the Ministry
(e) From the fine art club
(c) From the parent
(f) By improvisation
APPENDIX C
A likert type questionnaire for both teachers and students on the
theory and practical courses in Fine Arts
Key:
SA
-
Strongly Agreed
A
-
Agreed
UD
-
Undecided
DA
-
Disagreed
SD
-
Strongly Disagreed
INSTRUCTION:
Tick ( ) the correct response applicable to the statement.
S/N
Items
Degree of responses
SA
1.
There are enough Fine Arts teachers in
schools.
2.
We have fine arts studio in our school.
3.
There are adequate fine arts teaching
materials for theory and practice in our
school.
4.
Theory and practice are given adequate
attention by the schools authority.
5.
Practical aspects of the fine arts are being
taught in relation to theory.
6
Theory aspects of fine arts are being taught in
together with practical art teaching.
A
UD
DA
SA
7.
Assignments and project methods of teaching
used in teaching theory and practice.
8.
Assignment and projects methods are usually
done individually.
9.
An exhibition is normally organized for the
fine arts students annually.
10.
The school organized trips and excursions for
the fine art students annually.
11.
Do you base your studio theory and practical
teaching on the said rich art theory and
practical?
12.
Suitable teaching methods are normally
applied in teaching theory and practice
APPENDIX D
CHECKLISTS ON MATERIALS FOR TEACHING THOERY AND
PRACTICE IN FINE ARTS
Please tick ( ) against the materials available in your schools,
and indicate their nature as either quality or quantity. Rate the quality
as either Good, (G) or Poor (P) and quantity as either Enough (E) or
Not Enough (NE).
S/N
Practical Fine Arts Materials Quality
G
1.
Paper
2.
Pencil
3.
Crayon
4.
Water colour
5.
Poster colour
6.
Charcoal
7.
Cardboards
8.
Clay
9.
Fabric
10.
Wood
11.
Ink
12.
Dyes
13.
Plaster of Paris
14.
Rafia
15.
Canes
16.
Yams
17.
Leather
18.
Beads
Quantity
P
E
NE
19.
Looms
20.
Cutter
21.
Screen
APPENDIX EF
APPENDIX
MAP OF KANO STATE SHOWING THE SCOPE AND THE AREA
OF THE STUD: THE TEN ZONAL EDUCATION AREAS
(CHAPTERS 1.7 & 3.2)
Danbatta
Bichi
Munjibir
Nassarawa
* Municipal
Gwarzo
Gaya
Rano
Wudil
Tudun Wada
Key
State Boundaries
Zonal Educ. Areas
*
K.E.R.C.
APPENDIX
F
Appendix
G
INTRODUCTORY
LETTER
Introductory Letter